What's up Dad, we're back! Last time we got into using the whammy bar to make natural harmonics scream back up to pitch. In this column we're gonna be using the bar to to pull these jewels up to notes that are higher than their regular pitch. One example is screaming the harmonic at the 4th fret (regular pitch is B) on the G string all the way up to D (Figure 1).
This week I’m going to talk a little about how we wrote and recorded the new All Shall Perish album, This Is Where It Ends, that just came out this summer. We started writing some of the material while on tour in Europe last year in September.
Ana Popovic can play the shit out of the blues. And she belts it out like a mother in pain, too. But what really captivated me was the sight of her wielding her Strat and tossing off a bevy of tasty Stevie Ray Vaughan-esque licks while wearing a super-sleek, silver mini-dress. Yep. The totally package. Hot. Cool. Killer chops. But don’t think that Popovic hasn’t paid her dues when it comes to the blues.
So, you’ve got the chops, you’ve figured out the scales, you even have the gear to back up your skills. But if you’re going to hit the road, play the bars or present yourself as half-professional, you’re going to need a way to organize your pedals.
Although I play a guitarist on TV, I’m actually a bass player. That’s what comes naturally to me. I won’t lie: Deep down I’m a frustrated lead guitarist. Let’s face it, no one imitates the bass player when they grab a tennis racket and practice their moves in front of the mirror. I have guitar envy.
Do you know the only time most guitarists change all their strings is when they break one? I know because I’m often guilty of that. Changing strings isn’t always a matter of necessity; it can also be a matter of personal preference. Some musicians love the sound of their old strings broken-in, while others can’t live without the fresh sound of a new set.
Contrary to what you may have seen in the film Deliverance, bluegrass music is more than a bunch of good ol' boys picking banjos and clogging on the porch. It’s a style that boasts some of the most impressive instrumental musicians and guitarists of any genre.
Hey, check out this interview I did the other day with musician, producer, engineer and mixer extraordinaire Shawn Grove. He’s worked on every Collective Soul record since Dosage and is currently putting the finishing touches on the debut CD from Magnets And Ghosts featuring Dean Roland of Collective Soul and Ryan Potesta.
For this week’s blog, which I believe, is my eleventh for Guitar World, I wanted to ramble on to you all about performance. Your performance is probably the most important thing about your music as it relates to people other than yourself. True, the best music you ever play may be in your room or on your porch with only your dog listening but if you do want to make music professionally you'll have to hit the streets, the stage, the studio and you better be ready to cut it up.
Since we are one of the few national magazines that regularly covers heavy metal, I get a shit-ton of it. Most of it, quite frankly, is frustratingly mediocre — and mediocre is my least favorite music. I actually enjoy hating something better than being bored by it. When I hate an album, at least means I’m feeling something and I’m alive.